Beck

DISRUPTION - Cast paper by Jarrod Beck

Artist's Statement:

The Disruptions Recent works in cast paper

During my year in residence at Dieu Donné Papermill (NYC) I was also traveling to my land in far west Texas where I’ve been creating an installation of cast plaster in the ground. Each year heavy rains bring sediment into this desert wash and the plaster deflects the silt, creating a drawing in the ground. I would come back to New York and get to work in the wet studio, eventually developing a process of throwing thinned out pulp at a mold and then using my arm to pull and rub the pulp across the mesh of the mold. I have been looking for ways to show the desert ground-drawings without photographs, and I see these works in paper as a medium to transmit the process, rather than an image, and to shift the scale from a fleeting experience of walking five acres of land, seeing thousands of acres, and tens thousands of years in the compacted sediment in the mesas and mountains that surround the property to an experience of several square feet of color and translucency that's here now, indelibly in front of you.

Each layer of these works marks a gesture, an index of the frisson between my arm and the architectural surface of the mold. Couching these layers together gives them strength and they depend on one another for permanence. I've used pigment in the pulp to differentiate between layers of these pressed-together gestures, mixing up the figure from the ground, using tones to pull texture toward you and pushing it back with fiber. I've continued this gestural work back at my studio using pigmented cotton pulp and theatre scrim stretched across the studio. - Jarrod Beck

Beck

DISRUPTION - Cast paper by Jarrod Beck

Artist's Statement:

The Disruptions Recent works in cast paper

During my year in residence at Dieu Donné Papermill (NYC) I was also traveling to my land in far west Texas where I’ve been creating an installation of cast plaster in the ground. Each year heavy rains bring sediment into this desert wash and the plaster deflects the silt, creating a drawing in the ground. I would come back to New York and get to work in the wet studio, eventually developing a process of throwing thinned out pulp at a mold and then using my arm to pull and rub the pulp across the mesh of the mold. I have been looking for ways to show the desert ground-drawings without photographs, and I see these works in paper as a medium to transmit the process, rather than an image, and to shift the scale from a fleeting experience of walking five acres of land, seeing thousands of acres, and tens thousands of years in the compacted sediment in the mesas and mountains that surround the property to an experience of several square feet of color and translucency that's here now, indelibly in front of you.

Each layer of these works marks a gesture, an index of the frisson between my arm and the architectural surface of the mold. Couching these layers together gives them strength and they depend on one another for permanence. I've used pigment in the pulp to differentiate between layers of these pressed-together gestures, mixing up the figure from the ground, using tones to pull texture toward you and pushing it back with fiber. I've continued this gestural work back at my studio using pigmented cotton pulp and theatre scrim stretched across the studio. - Jarrod Beck

Iron Delta (2016)

Cotton and iron / 21” x 15” / $2250

Speleospectra (2016)

Pigmented cotton and abaca / 27” x 25” / $2750

Ghostcline (2016)

Pigmented abaca / 30” x 22” / $2750

Green Gold (2016)

Pigmented abaca / 30” x 22” / $2750

Pools (2016)

Pigmented abaca / 30” x 22” / $2750

Schist (2016)

Pigmented abaca / 30” x 22” / $2750

The one who couldn't save you (2015)

Kapok / 40" x 30" / $7200 Framed

RAWHAZE (2015)

Pigmented abaca / 40" x 30" / $9,000 Framed

Spine (2016)

Pigmented abaca / 60" x 40" / $10,000

PUSHPETRIFY (2016)

Pigmented abaca / 60" x 40" / SOLD

Anticline (2016)

Pigmented abaca / 60" x 40" / $10,000

Moonshot (2016)

Pigmented abaca / 60" x 40" / $10,000

BlackMountain (2016)

Pigmented abaca / 60" x 40" / $10,000

Alluviummaw (2015)

Pigmented abaca, flax, kapok / 60" x 40" / $13,000 Framed

Pools of you, how many, how light, calcify (2015)

Pigmented abaca, flax, kapok / 60" x 40" / $13,000 Framed

Piers, West Side, One and Two (2015)

Glass / left: 25" x 7" x 7" / right: 23" x 5" x 5" / Sold

All Piers, West Side pieces were created at Urban Glass in Brooklyn, NY through a process of blowing glass into a wooden mold. The mold would burn from the heat of the glass and release vapors that would cause an iridescence.

Other pieces are available.

Pier, West Side, Four (2015)

Glass / 31" x 5" x 6" / $2,750

Piers, West Side (2016) Installation

This installation of glass vessels is in the courtyard of inde/jacobs. Installations can be customized for alternative and smaller spaces. Vessels are priced from $2,500 - $4,000, although final pricing depends on the number of units and other factors.

Jarrod Beck has created a large scale multi-media drawing using various elements, including hand-made plaster work. The elements are thoughtfully placed on the property considering various elements, including water drainage. As is evident, the elements, which mimic white bleached bones, alter the flow of water and wind. This is evolution and geology in process in an environment that is surrounded by volcanic mountains and an area of seven shallow seas of millions of years.

Disruption Regime - series of four pieces

Plaster and ink / 48" x 36" / all four pieces: $6,000

Two pieces exposed to the desert in a large scale installation and two that are in pristine condition. The contrast helps tell the story of the project.

Disruption Regime (detail)

Notice the light wrap around the piece into its shadow.

Disruption Regime (detail)

Disruption Regime (detail)

Disruption Regime (detail)

This detail shows the erosion of four years in the desert climate. Exquisite contrast to the smooth pieces that were never exposed to the desert.